“I GUESS THE DIVING BOARD REFERS TO A VERY STRONG AND HIDDEN MEMORY THAT WE ALL HAVE: GOING TO A SWIMMING POOL AS A CHILD AND DOING NOTHING BUT DIVING AND DIVING, GOING IN AND OUT OF THE WATER AND RUNNING TO DIVE IN AGAIN.”
Your installation is extremely complex, certainly the largest scale install you’ve done to date, please talk about the process you went through in making it?
Yes, it is the largest scale installation I’ve made so far and it was simply an answer to that big wall [in the CSM street]. As soon as I knew that I was going to exhibit there I wanted my work to inhabit it, to defend itself against the wall. However, my way of working was not any different than usual. The objects chosen were carefully selected because of the memories that they evoke in me. Inevitably, there is a notion of nostalgia embossed within the practice. In contrast, the installation process is more spontaneous and led intuitively, providing the objects with an opportunity to be considered in a new context.
You return to certain motifs: Jesus, exercise equipment, water, toys — could you please comment on a few of these motifs and explain their importance to you?
These objects work as headlights. They belong to a culturally common background or to common memories. They allow the viewer to enter inside the installation and start their own visual narration. For example, I guess the diving board refers to a very strong and hidden memory that we all have: going to a swimming pool as a child and doing nothing but diving and diving, going in and out of the water and running to dive in again.